Welcome To Master Claset’s Theory Corner!

Hello everyone! Thanks for taking time out of your day to read this, and I hope to improve upon your current musical knowledge. I expect many different levels of musical experience, but I intend to introduce topics and material that you all will find both interesting and helpful. I am going to try and be as accessible as possible, but I do recommend readers familiarize themselves with basic musical concepts, such as note names, rhythms, time signatures, and key signatures. Music theory is a subject that is best discussed in a dialogue, which is why I encourage you to send in questions that I will discuss at the end of the next entry.

If you are wet behind the ears, check out learnmusictheory.net. My previous professor Dr. Mark Feezell compiled the information, which ranges from music fundamentals to contemporary music theory. I encourage you to consider buying the PDF copy for $4.95, which is probably the lowest you will pay for college level information (other than the free pearls of wisdom to come).

To say a little about myself, I received my Bachelors Degree in music theory at the University of Texas at Arlington with Dr. Graham Hunt (currently at UTA), and Dr. Sean Atkinson (currently at Texas Christian University). There I studied topics in Sonata theory, Schenkerian Analysis, 20th century form and analysis, and Post-tonal theory. Shortly after graduating in 2012, I applied for the Masters program for Music Theory Pedagogy at Southern Methodist University. This is where I honed my skills as a theorist, and delved into the teaching side of things. I worked with Dr. David Mancini, Dr. Mark Feezell, and Dr. Gary Foster in learning pedagogical philosophies about teaching music theory. I also spent two semesters with Dr. Peter Kupfer studying Music History Pedagogy, and studying music history in the 19th century.

I know that sounds like a lot of hoity-toity credentials, but don’t expect to see music from a lot of long dead composers. There will be that, but I want to delve into current music, by both nationally and locally popular music. So if you find yourself outside of the D/FW scene, you might hear of some bands you wouldn’t normally encounter.

As a taste of what’s to come, my first submission will be focused on modes. Below is an example of a C-major scale.
We are going to take this single scale, and learn about the 6 other scales that are related to this scale. If you know of a major scale, but are unsure what it is specifically, then here is where we start! I will also discuss a bit of history in relation to scales and modes (the whole tetrachord business), so be ready for that as well.

Send your questions/comments to lindby.mctc@gmail.com, or leave a comment, and thanks for turning on my corner!

3 comments on "Welcome To Master Claset’s Theory Corner!"

Kyle Claset

Ariel The Sexiest Pankratz

First of all, LOVE THIS! Second of all, that picture of you is amazing. Third of all, this might be way too general of a question, but what are the point of modes? I know the names and how to figure out the notes, but I guess I never learned their purpose or why they exist? Or do they just exist and someone had to give them names? Maybe I was told, but wasn’t pay attention in class.

Anyway, LOVE THIS!

Kyle Claset

Great questions Ariel The Sexiest Pankratz! Glad to hear you are excited about this, and I am as well!

I will definitely be delving into some of these questions. Perhaps you weren’t guided by the hand of Dr. Linton Powell, which I will forgive. Or maybe, just maybe, those details were discussed in the first 10 minutes of class… I digress. The most current use of modes would be prominantly found in jazz music (America’s art Music); not to mention the modes that exceed traditional melodic theory. I won’t be talking about jazz modes on my next post, just modes as they relate to those old school beats.